Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Romania and from Manila.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Hong Kong kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Quando Quango to the crunk kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Interpol. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Gregory Isaacs,
The Dead C,
Intrusion,
Youth Brigade,
Sister Nancy,
Bootsy's Rubber Band,
the Normal,
Rapeman,
H. Thieme,
Drexciya,
Bang on a Can All-Stars,
Alphaville,
Eden Ahbez,
Swans,
Minny Pops,
David McCallum,
8 Eyed Spy,
The Jesus and Mary Chain,
The Moody Blues,
Marine Girls,
Absolute Body Control,
Lucky Dragons,
Lizzy Mercier Descloux,
Fugazi,
Grey Daturas,
Matthew Bourne,
Ralphi Rosario,
The Toasters,
The Doors,
cv313,
Brick,
Pantytec,
Isaac Hayes,
Popol Vuh,
Juan Atkins,
Black Flag,
The Birthday Party,
Cabaret Voltaire,
Slave,
Monolake,
Sarah Menescal,
Rhythim Is Rhythim,
Prince Buster,
Quantec,
Soft Machine,
The Stooges,
LL Cool J,
48th St. Collective,
The Raincoats,
KRS-One,
Janne Schatter,
Michelle Simonal,
Black Moon,
Avey Tare,
The Martian,
JFA,
The Chocolate Watch Band,
The Peanut Butter Conspiracy,
Notorious Big And Bone Thugs,
Sound Behaviour,
June Days,
Radio Birdman,
The Motions, The Motions, The Motions, The Motions.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.